SKU: HL.1190017
UPC: 196288131830. 8.75x14.0x0.4 inches.
Concerto in One Movement for Organ and Chamber Orchestra (“Alaska”) was written for Madeline Schatz and the Arctic Chammber Orchestra. In one movement, the moods and tempos shift from a broad sustained beginning to a lively and rhythmic section, followed by a quiet, slower middle section. A brief organ cadenza introduces an extended, again lively and rhythmic final section. Although the organ is prevalent almost throughout, there are also important statements and colorations in the orchestra. One may recognize a few borrowed musical references: a rhythmic patter of the Inuit; the first phrase of the “Passion Chorale” from the 16th century composer Hans Leo Hassler; and the traditional Hebrew melody, “Yigdal.”.
SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
SKU: BR.EB-8058
ISBN 9790004183700. 9 x 12 inches.
The Reformation Symphony was composed in 1830 for the 300th anniversary of the Confessio Augustana, the founding of the Lutheran confession of faith. In the fourth movement, Mendelssohn quotes, elaborates and varies artfully the Luther-chorale Ein feste Burg ist unser Gott [God is our fortress], erecting a musical monument to the reformer Martin Luther. After an initial confl icting reception, the Reformation Symphony meanwhile is established fi rmly in the concert repertoire. EB 8058 is intended for performances with organ. It can also be used for the preparation of the chorus and soloists for performances with orchestra.With regard to the anniversary of the Reformation in 2017, this version for solos, choir and organ by Torsten Sterzik originated to pave the Reformation Symphony's way into the church as well, restoring the text to Luther's chorale in the fourth movement and additionally including the third movement, its arioso solos being sung by a soprano and a tenor solo.
SKU: SU.80101408
Sonatina No. 4 (2017) for organ is dedicated to German organists Andreas Willscher (Hamburg), Hartmut Siebmanns (Possneck), and Philip Hartmann (Ulm). The titles of the three movements reflect these German cities. The first movement is a bright, festive march. The second movement is an atmospheric aria. A wide-ranging lyric melody unfolds over an ostinato accompaniment. In the third movement, the opening triple meter fanfare gesture is developed throughout alongside a march-like descending figure, referring back to the first movement. Instrumentation: Organ Duration: 11' Composed: 2017 Published by: Zimbel Press.
SKU: EC.9245
UPC: 600313492457.
Byron Adams's Suite in Olden Style for organ solo looks back at Baroque forms in a contemporary manner. This score can be played in its entirety, but each movement can be played singly and in any combination with any other movement as the player sees fit. The four movements that comprise the Suite in Olden Style are appropriate for either a religious service or in recital.
The first movement, Sinfonia, is based on the Advent chorale Nun komm, der Heiden Heiland (Savior of the Nations, come). The second movement is a reflective fugue, while the third movement is a pensive Siciliana. The last movement, Rigaudon, is extroverted, lively, and brilliant.
Contents:
I. SinfoniaII. FugueIII. SicilianaIV. Rigaudon
SKU: SU.80101397
Suite in F (2017) is in three movements: Praeambulum, Ground, and Fantasia. The first movement, Praeambulum, begins with F's as descending octaves followed by a rising scalar passage. This theme returns throughout the movement and also serves to provide the harmonic material for the intervening episodes. The second movement, Ground, unfolds over a repeating bass line, beginning with a spare two-part texture (that returns near the end) and increases in harmonic density. The third movement, Fantasia, begins in F and introduces its two basic musical ideas: a fanfare-like march figure and a pattern of quickly alternating 3rds. The music moves through several modal areas before reaching an exultant conclusion. Instrumentation: Organ Duration: 11' Composed: 2017 Published by: Zimbel Press.
SKU: SU.80101406
San Andreas Suite (2017) consists of four movements: The first movement, Carillon (in festo S. Andreae apostoli), is a carillon with an ostinato repeated pattern and an ever-changing series of harmonies. The harmonic intensity builds in the coda to hint at the rich and complex sonorities of bells. Versets on a Melody from Perigord comprises four versets on an old melody, Quel bru fai din lou chiel, which comes from the Perigord (Dordogne) region of France. The title of the third movement, Pastorale mit einem Orgelpunkt, means Pastorale with a pedal point, and the organ's lowest C sounds throughout. The low C is used as a harmonic generating source; the music above thus often explores sounds based on the harmonic series. The fourth movement, Toccata perigourdine, is an energetic toccata. Quoted in the slower middle section is an old melody also from Perigord. Instrumentation: Organ Duration: 19' Composed: 2017 Published by: Zimbel Press.
SKU: SU.80101407
Three Autumn Sketches after a Watercolor by Maria Willscher (2017) are dedicated to Hans-Peter Bahr. The music is inspired by a watercolor painting by Maria (Neumann) Willscher (1922-1998) entitled Herbststimmung. The three movements explore moods and colors of autumn as reflected in the painting. In the first movement, Herbststimmung (Autumn Mood), a musical line falls under gentle undulation. A central section is a wistful chorale. The second movement, Herbstfarben (Autumn Colors), reflects on the subtle variety and gradations of autumn colors with constantly shifting armonic colors. The final movement, Sonnenuntergang (Sunset), is inspired by the serenely beautiful colors of an autumn sunset, imagining the sun's departing rays illuminating the autumn landscape. Instrumentation: Organ Duration: 16' Composed: 2017 Published by: Zimbel Press.
SKU: SU.80101398
Suite in G (2017) is in three movements: Prelude, Pastorale-Musette, Jubilee. The first movement is a lyrical prelude. The second movement is a pastorale with musette-like drones. The third movement is a moto perpetuo with a driving energy throughout. The same musical material is often repeated, but inflected in different modes. Instrumentation: Organ Duration: 8'30 Composed: 2017 Published by: Zimbel Press.
SKU: MN.10-438
UPC: 688670104381.
The partita is in five movements, each based on a text verse which is quoted before the movement. The first movement, smooth and flowing, depicts starlight, everlasting light, and a call to Christ. The second movement pastorale takes its cue from the text ...not as a monarch, but the child of Mary... and quotes GREENSLEEVES. The third movement is a firm declamation, At your great name...all knees must bend. The fourth movement is strong and dramatic with chromatic flourishes painting the text, ...holy might...defend us...from all assaults. The final movement is a fiery toccata over a pedal melody.
SKU: SU.80101233
A set of three movements usable individually or together for service or recital. The first movement is based on the theme from the Finale of Beethoven's ninth symphony Ode to Joy. The second movement is based on the Shaker melody Simple Gifts, and the last movement combines the two together. 24 pages Published by: Zimbel Press.
SKU: AU.9798889832720
ISBN 9798889832720. 9 x 12 inches.
Like telling a story, David Cherwien has crafted a five-movement partita that highlights the text of each stanza of this well-loved hymn by Susan Palo Cherwien with the original tune SURGE ECCLESIA by Timothy J. Strand. The second movement tells of wafting incense, and the aria of the fourth movement cleverly includes the hymn melody in retrograde, highlighting the text Rise, remember well the future. The final movement is a joyful and festive toccata. The five movements can be played in sequence or as standalone pieces during worship.
SKU: HL.49046414
ISBN 9781540090522. UPC: 842819103974.
The American musical patrons Mildred and Robert Wood Bliss were considering which distinguished composer to commission to create a work in celebration of their 30th wedding anniversary in 1938. The couple had made the acquaintance of Igor Stravinsky in April the preceding year at the premiere of his ballet Jeu de Cartes in New York and had subsequently invited the composer to their country home 'Dumbarton Oaks' in Washington D.C. to talk about a new composition. Stravinsky only just managed to complete the work in time for the anniversary celebrations: its date of completion was also the date of its first performance. For his classically styled three-movement work, he selected the title Concerto in E flat, adding the subtitle Dumbarton Oaks as a dedication. The structure of the work references the concerto grosso: it features a soloist ensemble which unites in the tutti sequences but also plays in concertino groups during the solo episodes. Broken chordal structures characterise the central movement whereas the outer movements are distinguished through their use of fugato. Dumbarton Oaks went on to become one of Stravinskys mostsuccessful works, performed widely and delighting Mildred Bliss so much that she immediately issued another commission, for the Symphony in C. Its composer's very public commitment to American cultural life helped pave the way for Stravinskys emigration to the USA in 1945. As early as 1952 Leif Thybo created an arrangement for organ which Stravinsky probably did not know at the time of his life.
SKU: HL.49018083
ISBN 9790001168670. 9.0x12.0x0.24 inches.
In his Organ Symphony No. 8 'In Memoriam', following an idea of the cathedral organist Silvius von Kessel from Erfurt (and dedicatee of the work), Enjott Schneider carries on where Anton Bruckner left off, processes themes from the latter's Symphony No. 8 variatively and contrasts it to 'Haus-Choral des Erfurter Doms', 'Wachet auf, ruft uns die Stimme'. Bruckner's material is used as a starting point and further developed by Schneider in four movements: typically enough, the initial movement is called 'Metamorphosen' before an almost eerie atmosphere is created in a 'Scherzo sinistro'. The twelve-note series (in the third movement), embedded in a transcendental mood, eventually develops into the chorale which, now as main theme of the finale, amalgamates with Bruckner's stylistic moments and leads to a magnificent end - an exciting and rousing piece of music.
SKU: CA.5011900
ISBN 9790007188153. Key: E flat minor. Language: all languages.
The 6th Organ Sonata, composed in 1880 in E flat minor, was the first of a series of sonatas in Rheinberger's output which are more strongly symphonic. One of the features they display is the expansion of the previous three movements to a four-movement form. The grand introductory movement is followed by an Intermezzo, a gentle programmatic Marcia religiosa, and a highly effective tightly-constructed fugal Finale.
SKU: SU.80101350
A five movement work inspired by the writings of John Steinbeck. It is suitable in its entirety as a concert work, or the individual movements may be played on their own for church services. Each movement has both a poetic title from Steinbeck's writings and a musical title (Praembolo, Divertimento, Miserere, Musica de los Paisanos, and Toccata). Instrumentation: Organ. Composed: 2013 Published by: Zimbel Press.
SKU: SU.80101382
Gregorian Diptych (2016) was written for and is dedicated to Lynn Trapp. The two contrasting movements (panels) are each based on a different traditional plainchant: Adoro te devote and Da pacem Domine. The first movement is lyrical and contemplative; the second movement is vibrant and rhythmic. Instrumentation: Organ Duration: 7'30 Composed: 2016 Published by: Zimbel Press.
SKU: HL.280395
Hymn preludes and choral arrangements by Bendt Fabricus (2018). Foreword: This small collection of preludes and choral arrangements is a selection of movements, created through more than 30 years of work as an organist in the Danish National Church. The collectionis first and foremost intended as a useful work tool for all my colleagues around the Danish organ benches. There are movements thatare suitable for the small one-manual organ in the village church and others that are intended for the concert organ in the large city church. Some movements are easy to follow, even with a simple and traditionally constructed structure, while others, both harmonious and rhythmic, offer greater complexity and degree of difficulty. Virtually all the kits composed for two manuals and pedal can also be realized on organs that have only one manual and pedal. As far as registration instructions are concerned, my statements are only intended as a guide to the sonorous expression in a given movement, as of course everyone is free to find exactly the registration that is deemed appropriate on the instrument in question. It is my wish that all organists can benefit fromthe collection and that it will prove to be a useful and beneficial supplement in the daily work. Bendt Fabricius.
SKU: SU.80101422
Suite circulaire (2018) for organ is dedicated to Elisa Williams Bickers. The music takes a free, contemporary approach to the historical genre of circulating (or modulating) compositions, where the basic material moves through a variety of keys before returning home again. The goal is not simply to play a modulation game, but rather to construct a true musical discourse where the varied keys are an essential part of the concept. The first movement, Praeludium, is bright in character. Besides moving through varied keys, the movement is also animated with various looping patterns that provide another link to the circulating concept. The second movement, Ricercare, takes its content very literally from the title, which means to search out. Instead of being a proto-fugue, like many ricercares from the late Renaissance or early Baroque, the music searches through the keys by means of a wandering melody and a modulating accompaniment. The third movement, Toccata, is slightly manic in character. The syncopated theme heard at the start animates the movement as it moves through both tonal, modal, and bitonal/modal harmonies before reaching an excited conclusion. (When the suite is performed on an organ tuned in an unequal, circulating temperament, there is an additional circular effect provided by the quite varied key colors that are heard as the material moves through them.)Organ Duration: 14’ Composed: 2018 Published by: Zimbel Press.
SKU: HL.263189
ISBN 9788759839294. 12.0x8.5x0.13 inches.
Triptykon / Triptych for Organ solo by Niels Rosing-Schow. Triptych is written for the celebration of the 500th anniversary of the Reformation in 2017, commissioned by The Danish Society of Organists and Cantors. From the preface: The three movements of the work are musical images or situations, with the middle one, Toccata, as its axis. The latter is intended as an image of the dispute between Luther and the ecclesiastical authorities, which is the origin of the Reformation. Two of Luther's Reformation Hymns are more or less palpably present in the music. The other two movements can be regarded as 'before' and 'after'. The first, Exordium, is a 'fluid' situation, but also a preparation, which gradually accumulates a suspense pointing towards the discharge of energy of the Toccata. The third movement, Hymn, represents a serene situation, where a wealth of hymnal fragments grows out of an underlying structure, repeated several times(technically speaking, a passacaglia). There are also elements, however, which are derived from the previous movements. Niels Rosing-Schow (2016).
SKU: HL.49018082
ISBN 9790001168809. UPC: 884088535094. 9.0x12.0x0.2 inches.
Each organ symphony by Enjott Schneider has its own colour and its own theme. Organ Symphony No. 7 'Von Ewigkeit zu Ewigkeit' is dominated by the theme of 'time': from the flowing rumbling of time in ancient beginnings ('In principio' - 1st movement) and periodic to the intellectually incomprehensible revolving ('Zeit der Sterne' - 2nd movement). After the third movement ('Zeit des Menschen'), a valse triste, infused by an almost humorous hectic atmosphere, the symphony ends with a kind of 'Amen!' in the fourth movement. Schneider sums it up: 'It is good as it is, we do not understand the course of time anyway.' With regard to style, his composition is based on elements of minimal music which he combines with the tradition of the European organ composition; it is at the same time a testimony to the composer's flexibility and versatility.
SKU: AU.9781506487342
ISBN 9781506487342. 9x12 inches.
Thomas Trenney has composed a suite of six brief movements based on the hymn tune SURSUM CORDA filled with contrasting moods and fresh harmonic language. The first movement provides the opening statement of the tune and is followed by a lyrical Andantino cantabile, a lively Scherzetto, a light Quickstep dance, and a full-organ Toccata brevis. But that's not the end; the suite effectively concludes with a simple and reverent movement titled Benediction.
SKU: SU.80101421
Sonatina No. 2 (2013) is dedicated to Robert Behrman. The opening toccata consists of bouncy and vibrant music surrounding a lyric chorale. The title of the second movement, Sharagan, refers to a style of monodic hymn in the Armenian Orthodox Church. The third movement is a gigue indebted to Buxtehude, though with a contemporary harmonic flavor. Sonatina No. 3 (2014) is dedicated to Johan-Magnus Sjoberg. The opening movement is an ostinato (quasi-passacaglia) with a heavily syncopated theme. The second movement, Dirge, is quiet and expressive, with a rising scalar figure in the bass that increases in speed. The final movement is a dancing toccatina with a bit of a scherzando character. (Both of these sonatinas can be played with manuals only. Optional pedal suggestions are provided in a few places.) Instrumentation: Organ Duration: 14'30 Composed: 2013-14 Published by: Zimbel Press.
SKU: SU.80101453
Three Sound-Poems after Paintings by Andreas Willscher (2017) are dedicated to organist Philip Hartmann and the art-loving community of the Pauluskirche in Ulm, Germany. The music is inspired by three paintings by German composer (and artist) Andreas Willscher (b. 1955). The pieces take their musical shapes and colors from the specific details of the paintings. The three paintings represent different styles: a landscape, a religious theme, and an abstract. The first movement, Sonnenfeld (Sun Field), is inspired by a bright painting of the sun illuminating the green field behind the composer's small house in Sainte-Radegonde (Dordogne/Perigord, France). A resplendent and majestic section of full sun harmonies surrounds a middle section with more motion. The second movement, Gebet des Hl. Franziskus (Prayer of St. Francis), is inspired by a painting showing St. Francis of Assisi in prayer. Francis has been a frequent theme in Willscher's music since his appointment at a young age as organist of St. Francis Church in Hamburg. The third movement, Laetare (Rejoice), is inspired by an vibrant abstract painting comprised of bold colors. The alternation of the blocks of rich color are mirrored in the block harmonic shifts in the movement, which is a moto perpetuo, building towards the organ's fullest sounds. Instrumentation: Organ Duration: 11' Composed: 2017 Published by: Zimbel Press.
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